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The sparest of guitar lines accompanies the guilt-ridden vocals on "Baltimore," followed by the nostalgic "Family Reserve," whose last, harmony-filled chorus ends unresolved.
The chorus ends with a striking, suggestive theme: "Feet have bled, a million miles we've walked, revealing at the end of the day, the Charade".
The chorus ends with a classic Nashville explainer, making sure no loose metaphors are released into the world: "I should've known that kind of feeling would last longer than that week did, blown away and barely breathing.
The lyrics begin "I've sacrificed and bunted my heart," and the chorus ends with: "The game is over, there's nothing else we can do/I can't get to first base with you".
The chorus ends with a line of stock dance-floor chat — "I got a perfect way to make the girls go crazy" — but the verses suggest that the singer spends more of his time at the independent bookstore: "I don't have a purpose, omission, I'm empty by definition.
As the second chorus ends, a saxophone starts playing as Madonna softly asks the listener, "Who?
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Why does the Palestinian chorus end with "Our faith will take the stones he broke/And break his teeth," as if Palestinians are only of one faith?
Eventually the "pain comes in," and the track shoots up for the chorus, ending on a bellowing melisma that extends the last word and makes it heave like a surfacing whale: "Every single night's alight with my brain".
Knowles repeats the chorus, ending the song.
The words in the chorus end in 'al's syllables, as evident in lyrics such as "And this type of love isn't rational / It's physical".
Nicole's family could not be more adorable and/or thrilled and by the time the chorus ended, Blake turned around too.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com